"and in 1990 in the USA. Silent Mouse Silent Mouse is a British 1988 television film directed and produced by Robin Crichton. In 1818, Oberndorf bei Salzburg, Austria, the church organ fails on Christmas Eve. The assistant priest Joseph Mohr and the church organist Franz Gruber writes the Christmas carol ""Silent Night"" which they and the church choir later perform at church accompanied by Mohr playing the guitar. The film was produced by Edinburgh Film and Video productions for Channel 4 in association with PBS and Czechoslovak Television. It was filmed in Austria and Slovakia. The film premiered on 25"
"trombones (3), tubas (1), percussion (4 performers: triangle, gong, beck., tamtam, mil. tr., gr. tr., tubular bells, glockenspiel, xylophone), celesta, strings. The New York Philharmonic, conducted by Zubin Mehta, gave the first performance of the symphony on May 1, 1980. Symphony No. 2 (Penderecki) Polish composer Krzysztof Penderecki wrote his Symphony No. 2 during the winter of 1979–80. Sometimes referred to as the ""Christmas Symphony"" (quotations of the Christmas carol ""Silent Night"" occur repeatedly throughout the symphony), neither the score nor the parts (Schott Music, Mainz 45 791) make any reference to this moniker. The symphony, lasting 30–35 minutes, is"
"Silent Night. He started playing the guitar at age 15 and began writing songs soon after. Seibold states, ""I began surfing earlier that summer, so naturally, images of life at the ocean seeped their way into my songs. Not long after I started playing, me and some friends started writing and recording together."" He was also an accomplished wrestler. His career eventually garnered him an invitation to the United States Olympic Training Center before attending the University of North Carolina at Chapel Hill as a varsity wrestler. In the winter of 2004 Seibold began recording his first EP, ""That's the"
"Silent Night (opera) Silent Night is an opera by composer Kevin Puts and librettist Mark Campbell. As Silent Night: Opera in Two Acts the work had its world premiere at the Ordway Theater, Saint Paul, Minnesota, on November 12, 2011 under the directorship and dramaturgy of Eric Simonson. As ""Silent Night"", the opera had its East Coast premiere at the Philadelphia Academy of Music on February 8, 2013. It premiered in the Southwest at Bass Performance Hall with Fort Worth Opera on May 4, 2014. The European premiere took place on October 24, 2014, at the Wexford Festival Opera in"
"album ""Shadow of the Moon"" was a musical success and featured Ian Anderson of Jethro Tull on flute for the song ""Play Minstrel Play"". In subsequent albums, particularly ""Fires at Midnight"", there was an increased incorporation of rock guitar into the music, whilst maintaining a folk rock direction. Over time, Night has increasingly participated instrumentally as well as singing the vocals, and is competent in a wide variety of Renaissance instruments. The group performs at Renaissance fairs and Renaissance Festivals, as well as in stand-alone concert tours in appropriate venues including 'castle tours' of Europe, where they perform in historic"
"that was only a few hours away, and hoped his friend, a school teacher who also served as the church's choir master and organist, could set his poem to music. Gruber composed the melody for Mohr's ""Stille Nacht"" in just a few hours. The song was sung at Midnight Mass in a simple arrangement for guitar and choir. Various legends have sprung up over the years concerning the genesis of ""Silent Night"", but the simplest and likeliest explanation seems to have been that Mohr simply wanted an original song that he could play on his favourite instrument, the guitar. Within"
"from the ceiling of the concert hall in which it was performed. The audience managed to dodge the chandelier successfully as they had all crowded to the front for the post-performance applause, and the symphony got its nickname from this. More careful and recent research suggests that this event actually took place during the premiere of his Symphony No. 102. The work is in standard four movement form and scored for two flutes, two oboes, two bassoons, two horns, two trumpets, timpani and strings. The first movement is in sonata form. Following a slow introduction, the first theme of the"
"Nocturne (Britten) Nocturne, Op. 60, is a song cycle by Benjamin Britten, written for tenor, seven obbligato instruments and strings. The seven instruments are flute, cor anglais, clarinet, bassoon, harp, French horn and timpani. ""Nocturne"" was Britten's fourth and final orchestral song cycle, after ""Our Hunting Fathers"" (Op. 8, 1936), ""Les Illuminations"" (Op. 18, 1939) and ""Serenade for Tenor, Horn and Strings"" (Op. 31, 1943). It was dedicated to Alma Mahler. ""Nocturne"" was premiered in the Leeds Town Hall at the centenary Leeds Festival on 16 October 1958 by Peter Pears and the BBC Symphony Orchestra under Rudolf Schwarz. The"
"on 19 April 1967 with Siegfried Palm (cello) and the Berlin Radio Symphony Orchestra conducted by Henryk Czyż. The concerto is written for solo cello with an orchestra of flute (doubling piccolo), oboe (doubling cor anglais), 2 clarinets (second doubling bass clarinet), bassoon, horn, trumpet, trombone, harp and strings. The movements are as follows: A performance typically lasts approximately 16 minutes. The work has been described as an ""anti-concerto"" due to the nature of the relationship between the soloist and the orchestra. The solo cello begins extremely quietly (the initial entry has the dynamic marking (8 s)) and continues in"
"4 horns (doubled if possible in the Sunrise), 2 trumpets, 3 trombones, tuba, timpani, bass drum, snare drum, tambourine, triangle and strings. Sibelius completed the score by November 1908 and sent the manuscript to the conductor Alexander Siloti, who led the first performance in Saint Petersburg, Russia in 1909. The reviews of the first performance were, except for that from ""Novy Russ"", unfavorable, but one description of Siloti's conducting of that first performance was ""slack and monotonous"". Another comment from ""Novoye Vremya"" was quoted as asking ""Who is actually riding, and why?"" In addition, Siloti had made cuts to the"
"friend Ivor Atkins"". It was first performed on 8 March 1905, in the Queen's Hall, London, conducted by the composer. The instrumentation is: piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets in B, bass clarinet in B, 3 bassoons, contrabassoon, 4 horns in F, 2 trumpets in B, 2 cornets in B, 3 trombones, tuba, timpani (3), percussion (tenor drum, side drum, bass drum & cymbals), and strings. March No. 3 differs from the others in its opening mood, which is deliberately solemn. It begins with a dark subdued quick march led by low clarinets, three bassoons and the"
"Opera in Two Acts"". Silent Night (opera) Silent Night is an opera by composer Kevin Puts and librettist Mark Campbell. As Silent Night: Opera in Two Acts the work had its world premiere at the Ordway Theater, Saint Paul, Minnesota, on November 12, 2011 under the directorship and dramaturgy of Eric Simonson. As ""Silent Night"", the opera had its East Coast premiere at the Philadelphia Academy of Music on February 8, 2013. It premiered in the Southwest at Bass Performance Hall with Fort Worth Opera on May 4, 2014. The European premiere took place on October 24, 2014, at the"
"an orchestra comprising two flutes (doubling alto flute), piccolo (doubling flute), two oboes, cor anglais, two clarinets (doubling E-flat clarinet and bass clarinet), bass clarinet, two bassoons, contrabassoon, four horns, four Wagner tubas, three trumpets, three trombones, tuba, timpani, four percussionists, harp, piano (doubling celesta), and strings. Reviewing the West Coast premiere of ""Insomnia"" in San Francisco, Mark Swed of the ""Los Angeles Times"" called the piece ""newsworthy"" and wrote, ""Written in the aftermath of 9/11 and first performed in Tokyo at the end of 2002, it is more darkly tinted than his typically bright orchestral music. The unusual incorporation"
"side drum, bass drum, cymbals, wood block), harp and strings. The instrumentation for set 2 is piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (glockenspiel, side drum, bass drum, cymbals, tam tam, tambourine, tubular bells) celeste, harp and strings. In 1956 Kenneth MacMillan created the one-act ballet ""Solitaire"" based on the two sets of ""English Dances"". MacMillan created two new pieces for the ballet, the ""Sarabande and Polka"". It was first performed at Sadler's Wells London on 7 June 1956. 1. Set II, No. 3<br> 2. Set I, No. 1<br>"
"Christmas alone. After a brief sequence of events, during which Crosby cheered up another lonely soul, “Silent Night” is heard being sung outside his quarters as the students have come back to serenade him. Crosby opened the door and joined in, singing a solo as the show ended. Thousands of enthusiastic letters were received and “Silent Night” became part of Crosby’s Christmas show for the next quarter of a century. The show’s producer, Burt McMurtrie, recalled the occasion when speaking in 1979. “Bing sang “Silent Night” there for the first time. All by himself. He sang it like nobody—I mean,"
"III (solo piano, flute, clarinet, viola, cello, bell) 1983: Mandala IV (string quartet) 1985: Bagatelles (flute, clarinet, piano, violin, viola, cello) 1986: Empty Sky – Mootwingee (flute, trombone/horn, cello, 2 percussionists, 2 pianos) 1988: A Dance and a Hymn for Alexander Maconochie (flute, clarinet, percussion, mandolin, guitar, violin, double bass) 1989: Round Dance (sitar, tabla, flute, cello, keyboard) 1990: Sine nomine (alto saxophone/bass clarinet, percussion 1993: Rain Drums (4 percussionists) 1994: Kali Dances (flute, oboe, clarinet, trumpet, tuba, vibraphone, piano, violin, viola, cello, double bass 1975: Dum medium silentium (SATB) 1985: Where the lilies grow (8 voices) 1991: The Crane"
"instrument in the accompaniment to Amelia's aria ""Par che mi dica ancora"" in ""Il castello di Kenilworth"", premiered in 1829. He also originally specified the instrument in ""Lucia di Lammermoor"" (1835) as a haunting accompaniment to the heroine's ""mad scenes"", though before the premiere he was required by the producers to rewrite the part for two flutes. Camille Saint-Saëns used this instrument in his 1886 ""The Carnival of the Animals"" (in movements 7 and 14). Richard Strauss used the instrument in his 1917 ""Die Frau ohne Schatten"". For a while the instrument was ""extraordinarily popular,"" its ""'ethereal"" qualities characteristic, along"
"Darkness"", with guest vocals on the third verse by Russell, who covered the song on his concurrent album, ""Leon Russell and the Shelter People"" (1971). After pausing to introduce the band, Harrison followed this with one of the best-received moments in both the shows – a charging version of the White Album track ""While My Guitar Gently Weeps"", featuring him and Clapton ""duelling"" on lead guitar during the long instrumental playout. Both the band introduction and ""While My Guitar Gently Weeps"" are among the few selections from the afternoon show that were included on the album and in the film."
"""4′33″"". The score instructs the performer not to play the instrument during the entire duration of the piece—four minutes, thirty-three seconds—and is meant to be perceived as consisting of the sounds of the environment that the listeners hear while it is performed. Cage conceived ""a silent piece"" years earlier, but was reluctant to write it down; and indeed, the premiere (given by Tudor on August 29, 1952 at Woodstock, New York) caused an uproar in the audience. The reaction to ""4′33″"" was just a part of the larger picture: on the whole, it was the adoption of chance procedures that"
"Quiet City (music) Quiet City is a composition for trumpet, cor anglais, and string orchestra by Aaron Copland. In 1939, Copland wrote incidental music for the play ""Quiet City"" by Irwin Shaw. He later worked some of it into a ten-minute composition designed to be performed independently of the play. The piece premiered on January 28, 1941, by conductor Daniel Saidenberg and his Saidenberg Little Symphony in New York City. The original score for the play was composed for trumpet, alto saxophone, B clarinet (doubling bass clarinet), and piano. According to Copland, the piece was ""an attempt to mirror the"
"for the first time). After a private performance in which Poulenc played the orchestral parts on the piano, the piece's public premiere was on May 3, 1929 at the Salle Pleyel in Paris, with Landowska playing the solo part and the Orchestre Symphonique de Paris conducted by Pierre Monteux. The work is scored for an orchestra of two flutes, piccolo, two oboes, cor anglais, two clarinets, two bassoons, four horns, two trumpets, trombone, tuba, timpani, side drums (with and without snares), tambourine, triangle, bass drum, cymbals, xylophone, and strings (the usual two sections of violins, violas, cellos and double basses—Poulenc"
"as a solo instrument. He was apparently advised as to its use by the American orchestrator and composer Robert Russell Bennett. The composition includes several quotations from Rachmaninoff's other works, and can be regarded as a summing-up of his entire career as a composer. The first dance ends with a quotation from his unfortunate First Symphony (1897). The ghostly second dance was called ""dusk"" in some sketches. The final dance is a kind of struggle between the ""Dies Irae"" theme, representing Death, and a quotation from the ninth movement of his ""All-night Vigil"" (1915), representing Resurrection (the lyrics of the"
"and then a standardly tuned 4-string bass was used as the main bass instrument throughout the remainder of the recording. The song is performed frequently during the band's live concerts, and was performed with the San Francisco Symphony Orchestra (conducted by Michael Kamen) on the live ""S&M"" and its companion DVD. When performed live, the band has always relied on their original sitar recording for the intro (the band enters on the first accented note to dramatic effect), however for the S&M concerts guitarist Kirk Hammett utilised a Danelectro electric sitar for the intro before switching to his ESP electric"
"attendees to riot in protest and prematurely end the concert. The first British performance was on 6 May 1921 (or possibly on 16 April) at the Aeolian Hall, London, conducted by Edward Clark, Schoenberg's champion and former student. The players included Charles Woodhouse (violin), John Barbirolli (cello), Léon Goossens (oboe), Aubrey Brain and Alfred Brain (horns). The piece is a well-known example of the use of quartal harmony. The Chamber Symphony is a single-movement work which lasts approximately 20 minutes. Even though it is listed as one movement, the form can be considered as subdivided into as many as five"
"Midnight String Quartet The Midnight String Quartet were an easy listening chamber music quartet, consisting of two violins, a viola, and a cello, made up of students (at the time) or graduates from the University of Southern California. They played covers and standards over several albums from 1966 to the early seventies, supplemented by a professional rhythm section, often including bass, drums and guitar and sometimes piano and harpsichord. The Midnight String Quartet made a series of instrumental recordings produced by ""Tommy 'Snuff' Garrett"", on Viva Records (U.S.), a subsidiary of Snuff Garrett Records. Their First album, ""Rhapsodies for Young"
"In 1900 he had set Uhland's song ""Des Dichters Abendgang"" (The poets evening stroll), which expressed this view that ""When the dark clouds roll down..You carry within yourself the blessing of song. The light, that you saw there, Gently shines upon you on the dark paths."" The premier was given at the Salzburg Festival on 11 August 1943 with the horn player Gottfried von Freiberg (1908–1962), Karl Böhm conducting the Vienna Philharmonic. The same combination recorded it soon after. Richard Strauss himself was not present at the premiere, but had been at the festival earlier and left on 9 August"
"anticipating a double-manual keyboard, with one manual at regular pitch and the other a quarter tone higher.) The symphony is scored for a Romantic-size orchestra. ""Distant choir ensemble"", offstage Woodwinds Brass Percussion Chorus Keyboards Strings The mixed chorus performs a setting of the hymn ""Watchman"" in the first movement and a wordless intonation of the hymn ""Bethany"" in the last movement. The first and last movements employ a spatially-separated ensemble of 5 violins and harp. The last movement employs a spatially-separated group of percussion. The symphony did not have a complete performance until Leopold Stokowski conducted it with the American"
"to determine whether the concert series was held, or was cancelled for lack of interest. Zaslaw suggests that only the first of the three concerts was actually held. The symphony is scored (in its revised version) for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings. The work is in four movements, in the usual arrangement for a classical-style symphony (fast movement, slow movement, minuet, fast movement): The first movement begins darkly, not with its first theme but with the accompaniment, played by the lower strings with divided violas. The technique of beginning a work with an accompaniment"
"performance on 5 October without audience. Already in October, French television host Daniela Lumbroso announced in the media that Mylène Farmer would be present at the show. She also explained that for this occasion, the set was smoky and decorated with 200 candles, and that the recording of the performance lasted about 30 minutes. Farmer wore black trousers and a black blouse with a big crucifix as pendant. The song was performed in lip-sync and accompanied with a philharmonic orchestra named 'The Night of the Proms', composed of 140 musicians and choristers, and Yvan Cassar on piano. According to author"
"the standard 19th-century symphony orchestra with the addition of a bass clarinet and tubular bell. Dvořák's music follows the story closely and the orchestration is often used to illustrate characters and events: the oboe and bass clarinet are used to depict the misbehaving child and the witch respectively, whilst twelve strokes of a bell signal the coming of noon. During the witch's chase, the music alternates between two different time signatures as a further dramatic device. A semi-public performance was given at the Prague Conservatory on 3 June 1896 under Antonín Bennewitz. Its first full public première was on 21"
"1st-2nd oboes (2nd doubl. English horn), 1st-2nd bassoons, Eb clarinet, Solo-1st-2nd-3rd Bb clarinets, alto clarinet, bass clarinet, AATB saxophones, Solo-1st-2nd-3rd Bb cornets, 1st-2nd trumpet, 1st-2nd-3rd-4th horns, 1st-2nd-3rd trombones, baritone/euphonium (treble and bass clef parts), tuba (""Basses""), string bass, timpani, and percussion (snare drum, bass drum, cymbals, triangle, bells, vibraphone, xylophone, wood blocks, sandpaper [blocks]). According to the composer, the catalyst for the work’s creation was a rare indoor concert by the Goldman Band in Carnegie Hall: When Edwin Franko Goldman arrived at his seventieth birthday it was celebrated by a concert sponsored by the League of Composers. For the concert"
"first part), 7) tenor saxophone, 8) soprano saxophone, 9) horn, piccolos and celesta; 10) oboe, English horn and clarinet; 11) trombone, 12) some of the wind instruments, 13) first violins and some wind instruments, 14) first and second violins together with some wind instruments, 15) violins and some of the wind instruments, 16) some instruments in the orchestra, 17) and finally most but not all the instruments in the orchestra (with bass drum, cymbals and tam-tam). While the melody continues to be played in C throughout, from the middle onwards other instruments double it in different keys. The first such"
"music for ""A Midsummer Night's Dream"" (1848), the set of three for orchestra and female choir by Claude Debussy (who also wrote one for solo piano) and the first movement of the Violin Concerto No. 1 (1948) by Dmitri Shostakovich. French composer Erik Satie composed a series of five small nocturnes. These were, however, far different from those of Field and Chopin. In 1958, Benjamin Britten wrote a Nocturne for tenor, seven obbligato instruments and strings. Nocturnes are generally thought of as being tranquil, often expressive and lyrical, and sometimes rather gloomy, but in practice pieces with the name ""nocturne"""